Paris Opéra Ballet School
Annual Show

b y rP a t r i c i a rB o c c a d o r o

PARIS, 25 May1998 - When the lights lowered at the Palais Garnier, I certainly expected a pleasant evening, knowing that the pupils of the Opéra school would be giving of their best as they always have over the past twenty years that I've been seeing them.

Here was a classic programme, combining the tradition of the repertory , David Lichine's  Graduation Ball , set in 19th century Vienna, Balanchine's La Somnambule , (with the authorisation of the Balanchine Trust), and three short works by Kylian, Kylian Suite, which the director of the Netherlands Dans Theater had himself entrusted to these young dancers, and was to be danced for the first time in Paris.

The surprise was Jiri Kylian's remarkable work, which right from the start, showed that this was to be no children's end-of term demonstration, but a highly enjoyable evening of ballet by a company of professionals, whose ages nevertheless ranged from thirteen to seventeen.

Two weeks before, I'd seen the  Young Dancers  evening, where young members of the actual company are given the opportunity to dance solo roles. Sadly ,in spite of Stephan Phavorin's valiant efforts, the programme of classical pas de deux ( including Swan Lake,  Sleeping Beauty , and  Giselle) was too demanding technically, and artistically out-of-reach of the others participating. Outstanding artists cannot be churned out every year. The obvious fault was in the cruel choice of programme, which, unlike the works danced by the Opéra School did not take into account the abilities of the dancers chosen.

While the audience was dazzled by the pupils, I couldn't help looking beyond the performance, recognising the genius of the woman behind it, Claude Bessy, directrice since 1972, whose careful guidance has made the school the finest in the world. Her sympathy for her young charges is evident, teaching them that technical brilliance is no substitute for an understanding of their roles. It seemed to me that every pupil was in their rightful place.

Soloists Caroline Roberts, Florian Magnenet, Julie Martel, Romain Scott and the very lovely Myriam Ould Braham were delightful in every way, but special mention must be made of Emilie Cozette.

Musically, she was perfection in the pas de deux from Kylian's  Return to a Strange Land (music Janacek), dramatic yet pure and luminous in  La Somnambule (music Vittorio Rieti), and sparkled in  Graduation Ball  which was danced to music by Johann Strauss-son, with arrangements and orchestration by Antal Dorati.

Emilie is also beautiful to look at, with her expressive face, exquisite neck and shoulders and perfectly proportioned body. Nonetheless, together with all the final year pupils, she will still have to compete in July for the few places available in the company's corps de ballet next season.

Rendez-vous in six years !

TOKYO
Suite Kylian, La Somnambule, Graduation Ball
11 - 27 May 1998

PARIS
Opéra de Paris
Les Demonstrations
28, 29 December 1998, 6 January 1999.

PARIS
Théâtre de Massy
Les Deux Pigeons (choreography Albert Aveline)
A creation
10, 11 March 1999

PARIS
Théâtre des Champs Elysées
Les Deux Pigeons (choreography Albert Aveline)
A creation
19, 20, 21 March 1999

Future projects include a tour to Portugal, and performances at the Juilliard School and the Alliance Francaise.

Photos : Icare/Moatti